Superstar couple Jay Z and Beyonce got caught in the middle of a bust-up between Sean 'Diddy' Combs and his rap pal J. Cole at an MTV Video Music Awards afterparty on Sunday (25Aug13). Combs and Cole clashed following a heated exchange of words at the bash at New York's Dream Hotel, and the 99 Problems hitmaker had to intervene and pull the warring pair apart, according to the New York Daily News.
Cole, real name Jermaine Lamarr Cole, was escorted out of the building following the scuffle, but Combs later took to Twitter.com to play down the incident, dismissing it as a loud argument between two friends.
He writes, "I usually don't address rumours but I got too much respect for my bro J. Cole. We are friends. We just yell in public sometimes."
The red-and-black themed party was attended by a host of celebrities including Rita Ora, Jamie Foxx, will.i.am, Russell Simmons and Busta Rhymes.

Open Road Films
What separates a biopic from any other character piece is that a "true story" isn't necessarily expected to resolve or redeem its central characters. Unlike their fictional counterparts, real people often stay bastards throughout adulthood, submitting in the end to the same fatal flaws that carried with them through their earlier acts. It is the charge of the filmmaker, as such, to extrapolate some meaning from the heap of misanthropy that is, in essence, his or her subject. Be it the wonder, the progress, or even the horror of the featured individual's journey, something must be pinpointed as a reason to remember the biographical story in question. What Jobs does, instead of working toward a reason for us to be enamored with or at least intrigued by the fascinating character that Steve Jobs was, is bank on the simple likelihood that we already know that.
Anyone going into a Jobs biopic has, presumably, an established interest in and familiarity with the founder of Apple, who died of cancer in 2011. But that shouldn't absolve the movie of its duty to prove to its audiences that Steve Jobs is a subject matter worth their while. It doesn't absolve Ashton Kutcher of his responsibility to build a real character, as opposed to just yelling when he's in an angry scene and sobbing when he's in a sad scene. But Jobs seemes unconcerned with its own obligations toward this story. It just wants to tell it.
As such, what we have is two hours of a Steve Jobs seminar. Director Joshua Michael Stern and star Kutcher chatting about Jobs' life and career, joking about his off-putting quirks and offensive hygiene, pulling no punches in discussing his less admirable choices (like abandoning his baby daughter, and firing Apple employees for voicing disagreement). Lucky for Stern, the story Is an interesting one. Jobs, for all his flaws, is a guy you'll enjoy hearing about. But all that is accomplished by JOBS could have been earned by picking up a textbook about his life. And those who have already done so, those who know Jobs' story well enough (those who are the most likely to check out this movie, in fact), will find themselves experiencing nothing new.
Open Road Films
But an even better problem with this method is that it results in an incomplete film. Some of the better biopics that do handle flawed characters like Steve Jobs manage to pull some sense of significance from their tales, affirming that we didn't just spend two hours watching some son of a bitch get away with being just that. Even in the darkest, saddest, most unsettling stories, it is necessary to leave the viewer with something. Something learned, changed, accomplished, earned. The director cannot help if it if the Jobs of the 2000s was the same self-driven man who used people and dismissed ideas in the '70s and '80s. But he can and must do something to work around that. To turn this collection of anecdotes into a comprehensive account, which warrants an ending that is different from its beginning. That's not just cinema, it's storytelling.
And without this effort put in to conform Jobs' life to the demands of the narrative medium, nor the effort to build him into an independently interesting character by Kutcher, we're left with a moreover dull time at the theater. Steve Jobs might be an interesting guy, and his story might be worth telling — that benefit of the doubt is probably the only thing keeping this movie afloat. In company with an external fixation on the man at its center, Jobs might work just around sea level as a piece of entertainment. But what we're looking at, here, is a standalone movie, and one that hasn't put in quite enough work to pay tribute to the man in question.
2.5/5
Follow Michael Arbeiter on Twitter @MichaelArbeiter | Follow hollywood.com on Twitter @hollywood_com
More:Ashton Kutcher in 'JOBS' and Other Crazy Movie DietsFirst Instagram Trailer for 'Jobs'Ashton Kutcher As Steve Jobs: Why It Could Be A Great Idea
From Our PartnersBattle of the Bikini Bodies (Celebuzz)Complete Guide to Strippers in Movies and TV (Vh1)

Some familiar names and faces to the NBC family will be popping back up in the upcoming 2013-2014 TV season. Both Sean Hayes (Will &amp; Grace) and Dermot Mulroney (Friends) have new shows slated for the network's lineup, as well as the latest from drama dreamweaver Jason Katims (Friday Night Lights, Parenthood) and bona fide hitmaker J.J. Abrams (Revolution).
In fact, familiarity seems to be the name of the game for NBC, as the network is also bringing the small screen adaptation of the Oscar nominated big screen adaptation of About a Boy.
Before the NBC upfronts get underway next week, here's what's on the network's upcoming lineup so far:
About a Boy: Remember the movie based on Nick Hornby's novel of the same name? Well, this is the same thing, just brought to you by Jason Katims and replace Hugh Grant with David Walton and Toni Collette with Minnie Driver. Voila!
Believe: From executive producer J.J. Abrams, this drama starring Jake McLaughlin, Kyle MacLachlan, Delroy Lindo, and Jamie Chung follows a young girl with powers and the former prisoner who protects her from evil forces trying to steal said powers.
Crisis: This vehicle for Dermot Mulroney (pictured) and Gillian Anderson is a drama centered around political intrigue, conspiracies, and threats.
The Family Guide: Comedy veterans Parker Posey and J.K. Simmons star as a quirky couple in the process of divorce, and the effect said divorce has on their children. Posey's Joyce Fisher becomes a little too close to her daughter due to her desperate need to be young again, while Simmons' Mel Fisher, who is blind, leans on his son to be his eyes and ears.
Sean Saves the World: Or, at least, NBC is hoping Sean saves NBC with this new comedy starring the Emmy-winning actor as a dad trying to balance raising his teenager and his career.
These five new shows will join renewed favorites such as Grimm, Law &amp; Order: SVU, Parenthood, Chicago Fire and Revolution. Stay tuned to Hollywood.com all week for all the breaking TV news regarding the upcoming seasons from all the networks.
More: A Viewer's Guide to 25 New Pilot OrdersFox Pilot Orders 'Sleepy Hollow' and MoreAndy Samberg's New Comedy Heads to Fox
From Our Partners:Watch Justin Bieber Attacked in Dubai (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)

Ll Cool J has dedicated his new song to Chris 'mac Daddy' Kelly following the Kris Kross star's death on Wednesday (01May13). Kelly was pronounced dead at the Atlanta Medical Center in Georgia after he was found unresponsive at his home in the city.
LL Cool J was stunned to learn of the 34 year old's passing and has decided his latest track, Jump On It, will be a tribute to Kelly.
After posting a link to an audio stream of the song on Twitter.com, he added, "R.I.P Chris Kelly. This song is now officially dedicated to you. May God embrace your soul & lift up your family."
Ludacris‏ also took to his page on the microblogging site and tweeted, "One of my motivations as a kid to even get into the rap game. You will be missed. R.I.P. Chris Kelly."
Nicki Minaj added, "So sorry to hear that. Sending love to his family. RIP Chris", while Samuel L. Jackson offered, "How unfortunate. Waaay (sic) too young. My sympathy to all his people."
R&B singer Monica lamented, "Chris Kelly, may the peace of God comfort your family & all of those who love u (sic)."
Stars including Sean 'Diddy' Combs, Russell Simmons and Alyssa Milano have also paid tribute to Kelly on Twitter.

No one is more surprised than I am that I liked Dark Skies, only because when the trailers are inscrutable and studios keep it away from critics, well, we can connect the dots. This isn't the case. Dark Skies is well written and executed, with effective sound design, good performances from the cast, and eerie creatures that are left mostly to our imagination. Frankly, it's baffling.
Keri Russell (The Americans) and Josh Hamilton (The House of Yes, Kicking and Screaming) play the believable, likable Barretts, a couple that's hit a rough patch in their marriage. Daniel lost his job, Lacy's struggling as a real estate agent, and the marriage bed is a little chilly. Their two kids Jesse (Dakota Goyo) and Sammy (Kadan Rockett) are smart, sweet kids who are the first witnesses to the weirdness happening at their house. Jesse and Sammy have a cute bedtime ritual where Jesse reads Sammy scary stories before they fall asleep using walkie-talkies. Their latest scary story is about the Sandman, whom Sammy blames for the pranks that the Barretts begin finding in the morning. As these occurrences escalate, it's clear there's no way that Sammy could be the perp.
Like most good supernatural thrillers, the weird things happening can be ascribed to stress or nightmares or overactive imaginations. The Barretts become increasingly isolated from their friends and neighbors, which only adds to their stress. The way the Barretts experience this internal/external strife can be read as an interesting bit of social commentary; the family unit that stays together and remains strong is the only thing that can defeat whatever threatens them. Daniel is upset and ashamed he can't take care of his family, either financially or from whatever is stalking them. Jesse is mad at his parents for fighting and acting weird and making being a teen even more awkward than usual. Lacy thinks something out of this world is terrorizing them — or maybe it's her husband. This theory about the strength of the family unit is made even clearer later in the film when they meet with a sort of specialist in extraterrestrial phenomena.
RELATED: 'Dark Skies': Keri Russell 'Would Kick The S**t Out' Of Aliens If They Invaded 'The Americans'
This specialist, Edwin Pollard, is played by J.K. Simmons, who brings a gentle intelligence and mellow resignation that works really well. He could be a wild-eyed kook who wears X-Files shirts and "wants to believe," but he's not. He's just a bachelor with a bunch of cats who has given up fighting. (He has cats because dogs can sense, yes, aliens, and the barking used to keep Edwin up at night.) His performance is a good example of what makes Dark Skies a surprisingly solid sci-fi film.
The premise is straightforward and simple, even though we're trained to expect all sorts of twists. It's not that the Barretts are dumb or exasperating, it's that they don't want to believe it's possible for aliens to exist or be interested in them. They don't want to be those people, the kind of people like Edwin who have totally isolated themselves from society because of what they've seen and experienced, even though they are quickly becoming exactly that. The weakest character is Jesse's putzy friend Ratner, the kind of obnoxious teen boy who talks about "bitches" and encourages his shy friend to be a little bit naughtier, but he has his place in the story as well. If the performances had been a little more exaggerated or the music a touch more dramatic, Dark Skies could have easily tipped into silly territory, but it very carefully walks that line. It takes these possibilities seriously and earnestly, which convinces the audience to do the same. There's a groundedness to the whole enterprise that's satisfying.
There are one or two scenes that are simply jump scares or perhaps a little silly, but they're not so egregious that they take you out of the movie. (And, I'll be honest, jump scares work on me.) In the end, Dark Skies is a wholly enjoyable film that genre fans will enjoy.
3.5/5
From Our Partners:Miley &amp; Liam’s Beach PDA: PICS (Celebuzz)25 Most Scandalous Celeb Twitpics (Vh1)

X Factor competes with American Idol in many not so subtle ways. It’s got the obvious: carbonated, sugary beverage sponsor, pop singers as judges, and Simon Cowell (who’d be a legitmate bragging point if the ratings were higher). But this week, they pulled out the big gun: bring on a famous person’s daughter.
You may remember that during January’s American Idol auditions, we were introduced to a young woman named Jane. She had a decent voice and her father just happened to be Jim (freaking) Carey. No big deal. She went on a talent search in an effort to win success on her own, without using her father’s connections to attain her goals. It was admirable, the problem was that she wasn’t nearly as good of a singer as her competitors were. Still, Idol did a little dance around her for the time she spent on the show throughout the audition rounds.
Now, enter the final week of the X Factor auditions, in which they play with time like a rubber band and hop back to San Francisco auditions, where we started in episode one, to meet a young woman named Sophie Tweed-Simmons. She introduces herself as a student and shows up in a black SUV with a chauffeur, forcing we, the students of reality TV, to assume she’s going to be nothing more than a rich brat. It turns out she’s the daughter of Gene Simmons and Shannon Tweed. Just like Jim Carey’s daughter before her, she wants to do this on her own. (Strange then, that she brought her famous father with her. But we’ll move on from there.)
Now, so far, X Factor and Idol are almost on par in the “Children of a Celebrity” category, except that all we got on Idol was a phone call from Mr. Carey. Here, we get the actual Gene Simmons. Plus - and oh, is there a plus - we get a one-sided rivalry concocted with the help of good editing and one young woman’s serious attitude problem.
Meet Tara Simon, a 27-year-old vocal coach and chronic woo-woo-er who should know better. But she doesn’t and she spends the entirety of her on-deck time making fun of sweet Sophie for getting by on her dad’s fame. Yes, Tara. That’s clearly why she even bothered to come to a cattle call in a San Francisco parking lot full of crazy people. Because she’s a privileged brat who's succeeding on her father’s music industry connections. Music execs always send you to a reality show before they really consider you. Oh wait, no they don’t, because that’s insane.
The producers, however, are keen to promote this insane “rivalry” and put both girls’ auditions back-to-back. Demi recognizes Sophie because she knows Nick Simmons, and just like that, the judges all realize who Sophie is and her face drops like she just found out sunshine was discontinued. Besides the fact that she didn’t know “Make You Feel My Love” was actually by Bob Dylan and not Adele, her rendition of the song was sweet and sultry, though it did lack that extra punch you seek in a famous singer. Still, they’ve fawned all over lesser singers on this show and she’s a joy to watch. When voting time comes, L.A. is unconvinced and delivers the first judges’ spilt of the night. He says no. However, the others aren’t quite as hard on her and send her on through on the basis that she needs work, but she’s got the goods.
Take that, singing Regina George! Right? Right?! Wrong. Just when you think they’ve pulled the usual reality show schtick and played up the sweet girl who’s actually pretty terrific while the mean girl is sure to be full of herself and awful (hello, episode one of this season), that’s not the case.
Just before she takes the stage, Tara talks even more crap and waltzes onto the stage calling herself the Simon Cowell of her vocal studio, waving her arms claiming she’s the next Christina Aguilera (whoa, dream big) and chirping that she’s primed to take over one of the ladies’ judging seats. Thankfully, Simon tells her to shut up and sing, just in time for her to not be the worst singer ever.
And this is when we have a dilemma. Hey, X Factor, you just set us up to hate this girl. She’s the worst kind of human, according to everything you’ve showed us. She’s mean, spiteful, proud. She’s cheesy and yells like she’s a caricature of a country star. There’s no way she’ll be good. And then, she’s still over-the-top, but she too has the raw goods. She’s simply the victim of over-training. She gets four “yeses.” Damnit. You know what this means, don’t you? This rivalry is going to be milked for at least a few boot camp episodes. At least Simon knows that she’s an “utter drama queen.”
Next: All aboard the insanity train!The rest of the episode was colored with even more absurdity: splicing in newscasters like Superman is about to swoop down and save a group of young ladies in mortal danger, staged Demi-love, Simon on a scooter, and Britney’s “prank” on the judges’ assistant which consisted of simply asking the poor kid to do annoying useless tasks. Oh no! Don’t make him go out looking for a stupid hat! That’s definitely not demeaning and probably not any different from anything else you usually ask for. Later, when we find out the thrilling conclusion of this saga, our reward is Simon in a tiara and an unrelenting sense that Britney might own the best leather jacket ever. Seriously, I want it. Where can I get it?
Finally, we were treated to a string of folks with potential, some of whom are reminiscent of other famous singers, and another set of folks who are so bad, we're left with no choice other than cursing the producers for including them in this two-hour engagement.
First up, Adonis, the bandana-ed wonder and his “uh-ing” friend Jon. Yes, all Jon can do onstage is say “uh.” Riveting stuff. They attempt “Hello” by Lionel Richie, and by attempt, I mean the wildly inaccurately and probably self-named Adonis wailed onstage while his friend provided the appropriate amount of grunting support while Britney cackled and screamed “Oh, gawd.” And if that and the audience’s ubiquitous booing wasn’t enough, we actually had to watch the whole panel tell them no.
After a string of tragedies including a girl with a tragic case of oversized coat with short shorts and no singing ability, a guy who confused himself with a Backstreet Boy turned russian dancer, a girl so boring she put us to sleep with a single note, a slutty Charlie Chaplin, and a steampunk sad sack who cried his way off the stage, we were greeted with a refreshing sight: a human being.
Fifteen-year-old Dinah Jane, made me feel old by admitting she used to sing “Oops I Did It Again” at age four. When the soundtrack switched gears to Selena Gomez’ “Who Says” it was obvious she is going to be good. And then she lathered it on with a story about her 20-person family living in a four-bedroom house. Luckily, her talent delivers on this classic reality show promise. She sings “If I Were a Boy” and she’s a little over dramatic, but she’s got the aura and the raw goods: a very full, mature tone. She just needs to learn a little more control, and the judges are willing to give her that chance.
Next up is Aaron Ray, a 16-year-old Ohio-native who was cut from group rounds last year. He’s adorable and grounded and of course Demi thinks he’s cute. Underage alert! He sings an original song, but it’s clear he’s been listening to a lot of Chris Brown. He’s a little shaky, but he’s got Demi and Britney giggling like teen girls while the actual teen girls squeal in the audience. Demi looks like she’s going to take a bite right out of him. Mission accomplished: yeses all around.
A series of good singers including Little Suzy country singer, the charming and cute 16-year-old Nick Perelli (he does have one hell of an ugly-cry though), the living personification of Scout from To Kill a Mockingbird, and a rap duo comprised of a man with a stuffed animal on his arm and a Milli Vanilli zombie build us up.
And then it all falls down. We meet Changyi Li, age 52 with a serious aging complex. She’s dressed like Shirley Temple sailor and says she wants to be like Taylor Swift, Lady Gaga, and Britney right before she absolutely butchers “My Heart Will Go On.” And while I could regale you with the tales of the judges’ reactions, I’m drawing the line. This practice should have died with Idol circa 2005. This is just cruel, producers, and I won’t participate. The poor woman is sent home after witnessing an entire stadium laughing in her face.
When we skip over to Greensboro, North Carolina, we’re greeted with Draco Malfoy, faux hawk edition. Austin Carini has girls walking up to him like he’s Justin Bieber. The producers clearly put these fame-mongering little girls up to their task to ask this pimply kid for his autograph. He’s not even on TV yet and he’s just some dopey kid. Of course, when he gets on stage, it’s clear he’s been studying his idols: Bieber and One Direction. He’s an alright singer and he gets the girls going. All you need to be a teen hearthrob is fake charm and a decent voice. Oh and a cute face. Maybe some stupid hair. L.A. points out that his schtick isn’t all that special, but they still send him through on hope. That’s all we need, another kid who hopes he can be the next Bieber. There aren’t enough squealing teenagers at concerts across the country.
Next: Meet Donnie and Marie go to Wet Seal.And then, we’re disgusted more than we thought possible. Jaime, a pop duo made up of a boyfriend and girlfriend with magnetic lips take the stage. They’re basically like Donnie and Marie go to Wet Seal. ”We wake up and stare into eachothers eyes for 20 minutes” and “then we sing all day” - these are actual words they say to the cameras. When they kiss onstage, Britney has no qualms about casting some serious shade. And it only gets worse when they deliver their original song and dance inadvertently inspired by the work of S Club 7. In case you couldn’t guess, they were sent packing.
Finally, we got to end on a few high notes: David Corey and Daryl Black. First up is David, who’s basically a gruff Bruno Mars. And surprise of all surprises: he sings a Bruno Mars song. The good thing is that he actually does it pretty well, taking on the upper register challenges with ease. I’m not sure why his song made Britney break down, but his four yeses were certainly deserved.
Next, Daryl is married with two teenage kids and steps up to the plate with “Stereo Hearts” by Gym Class Heroes. He looks like some regular Joe, but presents a deconstructed version of the song that allows him to appear more hip while exercising his strength: true R&amp;B flavor. He’s so good, Britney gives him her happy, squinty pixie face and Simon compares him to Nat King Cole. Now look, Nat King Cole was a velvet-voiced god among men, so let’s not be hasty, Simon. Daryl is good. Let’s wait until he start singing on the real stage with a little training before we start throwing around ego-boosters we can’t take back.
But, we can’t end with a pleasant, good singer. Nay. This is reality television. The penultimate auditions episode drops us with 13-year-old Trevor Moran, who has so much energy the atmosphere spontaneously bursts into a round of “Call me Maybe.” Then he gets sick and the paramedics have to come, and with zero shame, the show uses it as the sole teaser for tomorrow’s final episode of the auditions. Why’d you have to go and ruin everything, X Factor? Is it time for boot camp yet?
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: Fox]
More:
'X Factor' Recap: Seeking Fire and Rain
'X Factor' Recap: Trouble, Trouble, Trouble
'X Factor' Premiere Part 2: You Can't Be Pretty and Talented

When you're in high school it feels like the whole world is against you. In writer/director Stephen Chbosky's high school-set The Perks of Being a Wallflower the whole world may actually be against Charlie (Logan Lerman) whose freshman year of high school should be listed in the dictionary under "Murphy's Law." Plagued by memories of two significant deaths as well as general social anxiety Charlie takes a passive approach to ninth grade. A few days of general bullying later he falls into a friendship with two misfit seniors Patrick (Ezra Miller) and Sam (Emma Watson) who teach him how to live life without fear. Perks starts off with a disadvantage: introverts aren't terribly engaging but Chbosky surrounds Charlie with a vivid cast of characters who help him blossom and inject the coming-of-age tale with a necessary energy.
Set in a timeless version of the '90s Charlie's world is full of handwritten journals mixtapes and a just-tolerable amount of tweed. He writes letters to a nameless recipient as a way of venting a preventative measure to keep the teen from repeating a vague incident that previously left him hospitalized. The drab background of Pittsburgh fits perfectly with Charlie's blank existence. And when he finally comes to life as part of Patrick and Sam's off-beat clique so does the city. Like the archaic vinyl records Sam lusters over (The Smiths of course!) Chbosky visualizes Charlie's journey through the underbelly of suburban Pennsylvania with a raw emotion blooming lights and film grit at every turn. Michael Brook's score and an adeptly curated soundtrack accompanies the episodic affair which centers on Charlie's search for a song he hears during the most important moment of his life.
The charm that keeps The Perks of Being a Wallflower from collapsing under its own super seriousness come from Chbosky's perfectly cast ensemble. Lerman has a thankless job playing Charlie; often constrained to a half-smile and shy shrug Lerman is never allowed to grapple with Charlie's greatest fears and problems until (too) late in the film. Watson nails the spunky object-of-everyone's-affection but she's outshined by Mae Whitman as Mary Elizabeth another rebellious friend in the pack who takes a liking to Charlie. The real star turn is Miller riding high from We Need to Talk About Kevin and taking a complete 180 with Patrick a rambunctious wiseass who struggles to have an openly gay relationship with the football captain but covers his pain with humor. A scene of confrontation — at where else the cafeteria — is one of the best scenes of the year.
Chbosky adapted Perks of Being a Wallflower from his own book and the movie feels stifled by a looming structure. But it nails the emotional beats — there is no obvious path to surviving high school. It's messy shocking and occasionally beautiful. That about sums up Perks.

Just one day after Adam "MCA" Yauch passed away on May 4, HBO aired the 2012 Rock And Roll Hall of Fame Induction Ceremony honoring Guns N' Roses, Red Hot Chili Peppers, and of course, the Beastie Boys. While the ceremony was filmed back in April, the special included a tribute to the Beastie Boys and a special reading from a letter composed by Yauch.
Rappers Chuck D and LL Cool J introduced the Beastie Boys. "We are here to induct the Beastie Boys into the Rock And Roll Hall of Fame," LL Cool J said. "The reason I'm here tonight and the reason that this was so important to me is because if it wasn't for the Beastie Boys, I wouldn't have my career that I have today. The Beastie Boys actually played my demo tape for [record producer] Rick Rubin in the NYU dormitory. A lot of people don't know that." Beastie members Adam "Ad-Rock" Horowitz and Michael "Mike D" Diamond then took the stage to thank their family and friends. Sadly, when the ceremony was filmed on April 14, Yauch — who was suffering from cancer — was too sick to attend. "Adam would like to read a note that our fellow band member, who we could not have ever possibly done all of this stuff or we could not have been the family that we became," Diamond said. "Adam Yauch, MCA, wrote this speech and it was in his house, his parents' house in Brooklyn, I remember I would go every day after school and we would make a damn god awful racket. I can't believe they let us do it." Horowitz then read the letter: "I’d like to dedicate this award to my brothers, Adam and Mike, who’ve walked the globe with me. To anyone who’s been touched by our band, who our music has meant something to, this induction is as much ours as it is yours. To Kate Schellenbach. To John Berry. To John Berry’s loft on 100th St. and Broadway, where John’s dad would come busting in during our first practices screaming, “Would you turn that f***ing s*** off already!” To my loving and supportive parents, Noel and Frances Yauch, and to our home in Brooklyn where we used to practice on hot Brooklyn summer days after school, windows wide open to disturb the neighborhood. But most of all I’d like to thank and dedicate this honor to my smart, beautiful, loving wife Dechen and our sweet, talented, loving daughter [Tenzin] Losel. Never has a man felt more blessed than I to be able to spend my time with my two soul mates. I love you guys more than you know. I wish I could name everyone who deserves naming, but of course there’s too many names to name. You know who you are, and I sent my love out to all of you. Your friend, Adam Yauch." Travie McCoy, Kid Rock, and Black Thought then performed a tribute of Beastie Boys' songs including "No Sleep Till Brooklyn" and "The New Style." Captain Kirk Douglas and Questlove from The Roots joined the trio on stage mid-performance. HBO concluded the monumental special by displaying a photo of MCA with the loving caption, "In memory of Adam Yauch."
More:
How Adam Yauch Rocked Hollywood With Oscilloscope
Celebrities Mourning Adam Yauch on Twitter
Growing Up Beastie: Remembering Adam Yauch

The Rosie Show was axed from Winfrey's OWN network in March (12) after just one season on air and the cancellation was rumoured to have caused a rift between the two stars.
But O'Donnell showed she had nothing but love for Winfrey by turning up to the Oprah Winfrey Leadership Academy for Girls benefit at the Jazz at Lincoln Center venue this week.
Cindi Berger, O'Donnell's representative, tells the New York Daily News, "They have an excellent relationship. It was a very special night and a wonderful time."
The event featured a performance by the first class of graduates from the Oprah Winfrey Leadership Academy for Girls in Johannesburg.
Other guests to show their support for Winfrey's cause included singer Mary J. Blige, actress Goldie Hawn, model Iman and hip-hop mogul Russell Simmons.
Winfrey opened the school in 2007 to provide education for disadvantaged females.

With a gargantuan blockbuster like The Avengers on the horizon, everyone and their brother is looking for a piece of the action. Thankfully, some companies looking to cash in on the buzz are keeping in classy and imaginative.
Farmers Insurance hired Roman Coppola (CQ and the upcoming Charlie Sheen/Billy Murray movie A Glimpse Inside the Mind of Charles Swan III) to shoot a fun little ad featuring a ragtag team of Avengers impersonators learning the ropes from none other than J.K. Simmons (who has his own superheroic experience from playing J. Jonah Jameson in Spider-Man). The spot has all the visual flair of Coppola, a regular collaborator of his sister Sofia and director Wes Anderson. Compared to the big screen version, it's low-key — but that's part of the magic.
Helping make it even more quaint are the homemade costumes, that feel right at home in the low-fi video. Farmers even threw fans a bone (via their Facebook page), laying out instructions on how to make the costumes in case someone wanted to overachieve and show up to Avengers looking like Thor. Check out the video below, plus a cool behind-the-scenes making-of and graphic instructions on how to construct the Avengers threads:
Find Matt Patches directly on Twitter @misterpatches and remember to follow @Hollywood_com!
More:
The Avengers Premiere: Check Out the Pics!
The Avengers: Cobie Smulders Reveals New Clip
Final Avengers Trailer: Can You Say Epic?